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安宁在婚礼前夕被诊断为胃癌晚期，为了不拖累爱人，她精心策划了一场出轨……然后用五个遗愿视频来与世界告别，在爱人的误解和社会的舆论压力中遗憾离世……。在印度海德拉巴的老城区有个一心做着侦探梦的女孩，她就是本片的主人公芭比。业余新手芭比渴望供职侦探公司，成为真正意义上的大侦探，却屡次遭遇闭门羹的待遇，同时还面临父亲的反对，与家人的逼婚。芭比只得顶着压力，靠处理着邻里之间的芝麻绿豆小案谋生。然而有一天，一个神秘男人找上芭比，用重金雇佣她寻人，这是否能成为她事业的转机呢？神秘男人的目的又是为何呢？。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。